The fantasy paintings that form the key genre in Cezanne's early years are generally taken as productions of his adolescent passion which is later superceded by his direct observatin of nature. But his inner invention in them is more difinitive factor in Cezanne's fomative method than his representation of nature. The scenes of lust and death such as L'Enlevement, Le Meutre, give the painter a process in which he identifies himself with various characters of his fantasy by transforming himself into them and becomes conscious of the painter=Cezanne, or the subject that sees and materializes his fantasy. He moves spatially in temporal literary stories, metamorphoses formatively, haunts and gazes the scene. There the subject seeing comes up to the surface from the motif of violence and death. In La Tentation de saint Antoine, its theme is not clearly represented, but literarily, psychologicaly, and formatively opposite or analogous elements face each other and make a circle that correspnds not with the linear perspective but, beyond it, wiht a formative state of picture plane as a movement which perpetually circulates and reiterates. In Le Dejeuner sur l'herbe, Cezanne himself obviously appears on the stage of picture where the characters seem to play a game of temptation and choice. Centering around its circle composition, some analoguous motives are repeated. Here painting is a game which unifies antagonism and alliance by the rule. The narrative which temporaly develops and the perspective whichi is based on the extension of straight line are dissolved by the game into a circle that always returns to and is identified with the picture plane, that is to say, the existential form of painting itself. The transformation and divertion of motives in Cezanne's fantasy painting are invented from his private sentiment, the literary refinement and the analogy of form. As the processe of them is abstracted and manifested while the narrative is ambiguous, he becomes conscious of the subject as painter and the formarity of picture plane.

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　A physician who was also a novelist and art critic, Mokutarō Kinoshita (1885 –1945) made statements calling for the acceptance of Édouard Manet, an artist representing nineteenth-century France, during the “Conventions of Painting” dispute that took place between April 1911 and February 1912. This paper will study statements by Kinoshita and consider how his perspective on art, and in particular painting, related to his acceptance of Manet.

　The dispute began with Kinoshita’s criticism of works by rising artist Shintoku Yamawaki, in which he used the words “conventions of painting.” Kinoshita’s views on painting appear to have been influenced by an assessment of Manet made by German art critic Julius Meier-Graefe in his book Paul Cézanne (1910). In fact, in arguing the importance of accepting Manet, Kinoshita borrowed Meier-Graefe’s terminology, describing Manet as “the mediator of tradition.”

　In 1913, a year after the dispute ended, Kinoshita introduced a founder of the abstract art movement, Wassily Kandinsky, in his “Anti-Naturalism Tendencies in Western Painting” [“Yōga ni okeru shizenshugiteki keikō”], published in the journal Bijutsu shinpō. In Kinoshita’s interpretation of Kandinsky, his perspective on painting has clearly been shaped by the influence of Meier-Graefe, as noted above. The fact that Kinoshita’s acceptance of Manet seems to have arisen more from the perspective he gained through Meier-Graefe than from Manet’s actual works may have set the course for the nature of Manet’s acceptance in Japan from that time on.

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L'objectif de cet article est de proposer une nouvelle interpretation du <<silence>> dans Manet de Georges Bataille. Dans Manet, Bataille trouve les deux types de <<silence>> aux peintures de Manet et Goya. D'une part, selon Bataille, le <<silence>> chez Goya est le cri ou le balbutiement : il peut etre interprets comme exces du langage de la peinture. D'autre part, le <<silence>> chez Manet est apporte par une operation de destruction du sujet represente : l'operation est l'utilite et la fonction de la conscience, dans la Theorie de la religion. Cependant, selon Bataille, la fin de l'art n'est pas l'utilite. Pour cela, l'operation de Manet serait de detourner cette fonction de l'utilite, c'est-a-dire d'user cette fonction en tant que jeu. C'est ce que Bataille considere comme art moderne. On peut considerer les deux <<silences>> comme instant ou se presentent les deraisonnables (le cri, le balbutiement et le jeu) dans les raisonnables (le langage de la peinture et la conscience). Bataille respecte l'art comme occasion pour reconnaitre la revolte a l'interieur de la raison.

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　本論文は，印象派を代表する有名画家の色彩表現に着目し，色特徴を解析する手法を提案する．提案手法では，美術館で実物の絵画を色較正済みのカメラを用いて，直接撮影したデータを利用している．そこで，各画家における絵画の測色撮影から色特徴抽出に至る一連の解析方法を整理して包括的に述べる．はじめに，美術館でデジタルカメラを用いて絵画を撮影し，絵画の測色データを獲得する方法を述べる．このとき，一般に美術館によって照明環境が異なる．そこで，照明環境に依存しない標準絵画データベースを作成するために，撮影画像の基準化を行う．次に，画像サイズを均一化して画家ごとの作品の集合を作り，全絵画の画素を均等色空間にプロットした解析法を提案することによって，各画家が用いた絵具の全体的な特徴が，色分布全体の主成分分析によって得られることを示す．さらに，各画家の作品ごとに詳細な分析を行うために，明度・彩度・色相の三属性を使用し，各属性を画素数で均等に分割して解析する手法を提案することによって，分割点と分割間隔が色特徴抽出に有効であることを示す．

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本論文では印象派絵画とフラクタル幾何学との関わりを検証し, 印象派絵画のフラクタル性を明らかにしたい。印象派の画家たちは戸外での自然観察による制作をするようになり, それに伴い, 「筆触分割」と「視覚混合」という新しい手法を使い20世紀美術に革新をもたらした。また, 生き生きとした自然を再現するために日本美術に見られる大胆な構図の切り取り, 俯瞰構図などを積極的に取り入れた。フラクタル幾何学は従来のユークリッド幾何学では定量化することのできない様々な自然の形を扱うことができることが知られている。フラクタル幾何学では自己相似性がその重要な概念となっているが, 自然の形体や色, 自然光が再現された印象派絵画もこのフラクタルの特性を持ち合わせているはずである。本稿ではフラクタル幾何学を, 美的価値をはかる一つの客観的なバロメータとして捉え, 印象派絵画に表現された様々な造形要素を検証し, 具体的な作品の事例を通して新しい解釈を試みる。

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本論は,美術が家族をめぐる問題に対して,いかなる貢献ができるのかという視点から,西欧で描かれた伝統的な母子像に光をあてることにより,そこで示されたジェンダーに関する考察を目指すものである。西欧で伝統的に描かれてきた聖母子像においては,イエスや聖母マリアが人間としての身体を獲得することと,両者の間に親密な情が交わされることが結びついている。このことから,ジェンダーについての理解を深めるための題材として,母子像の鑑賞が有効性を持つと考え,その実践的な方法として,とくに身体表象について検討する。現在,家族をめぐって多様な問題が議論されているなかで,母子像の鑑賞が,多様なジェンダー観を磨くことに寄与しうる可能性を持つと考えている。結論として,ジェンダーを切り口とした母子画の鑑賞を通して,美術が人間関係,多文化・異文化理解に貢献できる営みであることを言及している。

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Is Edgar Degas an Impressionist, or is he the "Odd Man Out" of the Impressionists? The purpose of this paper is not to answer the question, but to point out the ambiguous treatment Degas has received in the recent literature on Impressionism and to reconsider the definition of Impressionism. It seems that the instability of Degas' identity derives from his artistic technique (for example, dark color, rigid drawing style, etc.) and his preference of figure paintings over landscape paintings. Those who have tried to define or analyze Impressionism theoretically (for example, R. Shiff, N. Broude) tend to exclude Degas, explicitly or implicitly, from the central group of Impressionists. For it seems that Degas fails to meet a critical condition for definition as an 'Impressionist', that is, his paintings lack the trinity of "landscape/plein-air/spontaneity." On the other hand, those who prefer a sociological reading of Impressionist paintings (for example, R. L. Herbert, T. J. Clark), have regarded Degas as Impressionist without reservation, because his paintings are full of important information for their studies. For further study of Impressionism, it is necessary to be conscious of the gap between the polarities of the two different scholarly methodologies and to clarify the ideologies of the Impressionist painters. Only after such examination, can we again ask why the landscape has been given such importance in discussions on Impressionism.

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In Patrick White's Twvborn Affair(1979), we confront one of recurrent themes of Australian Literature, in association with another theme which is comparatively unusual. The former, the theme of national identity, is amalgamated with the latter,the theme of sexual identity, to make a story of a wandering life in which the hero/heroine Eddie Twyborn seeks for his "true" self while not knowing whether it exists or not. When the story is set in Europe, Eddie appears in the persona of a woman, firstly young Eudoxia and later Mrs Eadith Triste. In Australia, he assumes the role of a man, the only son of Judge Edward Twyborn. One may possibly interpret Eddie's alter-nation between the sexes as a metaphor: manhood as the symbol of the Australian ethos, womanhood as that of the Old World. The problem of sexuality, however, plays a far more substantial part in the novel than mere metaphor. As an expatriate and a hermaphrodite, Eddie is doubly excluded from definite social groups. On that account, he inevitably aspires to "the reality of permanence", a state unrecognizable to the eyes of people with unfailing identities. Though the pursuit of ambiguity both in national and sexual identity, the novel presents a positive vision in spite of its negative rendering and tragic ending. Eddie seeks for truth in his troubled identity. He can belong neither to his motherland Australia nor his cultural back-ground Europe, nor can he ever perfectly belong either to the state of manhood or womanhood; and truth for him lies in surviving by means of this untenable position itself. We understand Eddie Twyborn's fluctuating anonymity as exemplifying a prolific multiplicity of identities to be seen during the course of Australian literary history in which the problem of identity has been subjected to.a variety of experimental trials.

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本考察は,百武兼行(1842-1884)のパリでの絵画研究を明確に示すことを目的としたものである。そこで,時期は異なるが百武と同じくレオン・ボナ(Leon BONNAT,1833-1922)に学んだ五姓田義松(1855-1915)を取り上げた。考察の結果,百武の絵画研究は,ボナとの出会いによって人物習作を中心に展開され,その内容は充実したものとなった。百武にとってのパリ留学は,後に滞在することとなるローマにおける積極的な制作へとつながったといえる。

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